Miss South Africa is known as the country’s ambassador but basing that title on beauty alone does not seem all that revolutionary.
I did not clock the Miss South Africa competition was upon us until the social media storm surrounding one contestant, and oh boy, was it a lot. I got dragged in, and then I went on an Olympic-style deep dive myself.
Chidimma Adetshina, born in South Africa to a Nigerian father and a Mozambican mother, a divorcee, and a mother herself, was social media’s victim in recent weeks. Users stated her beauty was a product of her mixed heritage, and she didn’t physically and culturally resemble a ‘Miss South Africa prototype’, whatever that means.
This got me thinking about beauty pageants; about young girls or women dolled up in sparkling dresses and bikinis, strutting down a runway hoping their faces and bodies will dazzle judges. They are scrutinised for being too skinny or too chubby, too blonde or too brunette, too fake or not fake enough. Too Nigerian.
The panel adding a question about how they would want to change the world or how they would achieve world peace does not suddenly make the ordeal self-enlightening or inspiring, so why does Miss Anything still exist?
It surprised me, then, to learn Miss South Africa is in its 66th revolution around the sun. Debuting in 1958, the beauty pageant is still wholly dependent on the principles of its time. It was unironic to read their four core pillars are “duty, championship, empowerment, and beauty”, but the fact this remains unchanged in 2024 is unnerving.
The four pillars of the Miss South Africa organisation, some broken, some solid. Graphic: Victoria Hill
Duty I can get behind, because as the supposed ambassador for South Africa, the crowned queen is expected to engage with her local communities and charities. For example, former Miss South Africa 2023, Natasha Joubert, advocated for education and entrepreneurship and the current queen, Mia Le Roux, promised to work towards a more inclusive society regarding “differentally-abled” individuals.
However, championship is where I start to teeter. This word is associated with winners which contradicts the “spirit of Ubuntu-Botho” the Miss South Africa organisation says it upholds. Sitting at Miss South Africa’s centre is the principle of the winner takes it all, yet they want to be seen as something believing in “I am what I am because of who we all are”. The woman who wears the crown is given a R1 million cash prize, a fully furnished and serviced apartment, and a shiny Mercedes Benz GLC Coupé to drive around; yet she is supposedly the voice of a less-fortunate community who is not bedazzled with jewels — H is for hectic.
Empowerment is an obvious one, and an important pillar in any social organisation. Miss South Africa says they are a “leading voice on women empowerment and a launchpad for much-needed social change”. This is all perfect on paper, but does Miss South Africa really touch that many lives, and if yes, for how long? Do her campaigns reign on for longer than she does, and does South Africa feel empowered when they see the crown settled on her head? I know my answer.
But beauty is where I really stopped in my tracks and did a double-take. Miss South Africa’s reputation is being a beauty pageant where a winner is crowned based on her physical appeal. But, the brand they promote is mountains away from this — they want Miss South Africa to be a leader in social change, yet do this through her objective beauty? It does not gel in my head because choosing a winner based on an icon-sized picture of her face on social media is misogynistic to a tee and I would be wholly disrespected by the process.
Nevertheless, Miss South Africa seems here to stay, and we have no choice but to buckle in for the ride, not that I am a fan of rollercoasters.
FEATURED IMAGE: A graphic created by Victoria Hill
As video assistant referee (VAR) continues to reshape football, does it enhance the sport’s integrity, or does it diminish its thrilling spontaneity?
Envision a football match where every crucial moment is subjected to intense scrutiny, halting the game’s natural rhythm. The exhilaration of spontaneous action is replaced by the tedium of awaiting a referee’s verdict, eyes glued to a monitor. This is the current state of football, shaped by the Video Assistant Referee (VAR).
VAR was implemented to rectify clear errors and minimize human fallibility in crucial game-changing moments. The concept was straightforward: enhance fairness. However, the outcome has been more complex. While VAR has undeniably corrected some blatant mistakes, it has also generated fresh controversies and arguably increased frustration.
In essence, football is a straightforward game: two teams compete to score more goals. However, what truly excites fans is the game’s unpredictability, the unexpected moments, and even its imperfections. Before VAR, referees made instant calls, and while they sometimes got it wrong, these mistakes were part of the game’s character. We’d debate them passionately, but we accepted them as part of football’s human nature.
With the new Premier League season kicking off this evening, it is a good time to revisit a controversial moment from 2021 that shows how tricky VAR can be. Sky Sports reports that, just 14 minutes into the match between Chelsea and Manchester United, Callum Hudson-Odoi appeared to handle the ball in Chelsea’s penalty area. VAR advised the referee to review the play on the pitch side monitor. After watching the footage, he decided not to award a penalty. This incident shows how VAR, intended to clarify decisions, can often cause more confusion by turning simple plays into lengthy disputes.
According to The Athletic, a dramatic example of fan backlash against VAR unfolded in Norway. A top-tier match between Rosenborg and Lillestrom was abandoned after supporters, enraged by VAR, bombarded the pitch with tennis balls and fishcakes. The game was repeatedly halted, forcing players off the field twice, before being called off after just 32 minutes. This extreme protest reflects widespread fan discontent towards VAR in Norway since its introduction last year.
South Africa is increasingly moving towards embracing VAR, particularly after controversial decisions like those in MTN 8 Cup opener between Orlando Pirates and SuperSport United sparked debate. Both South African Football Association (SAFA) and the Premier Soccer League (PSL) are eager to introduce VAR to local leagues, reports SABC Sport. The recent R900 million sponsorship deal with Betway could provide the necessary financial support. This could revolutionize South African football by introducing a new level of fairness.
It’s essential to remember that football isn’t solely about perfection. The game’s true essence lies in the thrill, the unexpected, and the emotional rollercoaster it induces. While VAR is a permanent fixture, its successful integration depends on preserving what makes football extraordinary. Let’s strive for fairness without sacrificing the heart and soul of the game.
FEATURED IMAGE: Rivaldo Jantjies, 2024 Wits Vuvuzela Journalist. Photo: File/Leon Sadiki
Given how misleading period adverts can often be, it is easy to question what truly makes an advert effective.
Advertisers would have you believe periods are a dance party or a carefree stroll in the park. In reality, they are an emotional rollercoaster, and it is time we saw the truth.
Looking into what separates a good advert from a bad one. Graphic: Ofentse Tladi
The latest Always advert opens with five women in vibrant colours dancing energetically. As they dance, three boys dressed similarly appear, looking surprised by the scene. One girl playfully dances over one of the boys, heightening his surprise. The advert then wraps up with the product prominently displayed, highlighting the sanitary pad.
Instead of showing the reality of pain and discomfort, it presents an unrealistic and misleading image. Moreover, the scene where the girl dances over the guy feels inappropriate and out of touch with the true experiences of women on their periods.
The potential intention behind this advert is understandable as it aims to cast periods in a positive light rather than focusing on the negatives, perhaps to try bring hope to those who experience them. However, the reality of what one truly experiences during their period is more grim.
According to the National Institute of Health, many women and girls suffer from abdominal pain during their periods, a condition known as dysmenorrhea. This condition has psycho-emotional symptoms such as anger, irritability, and depression.
As a writer with a Bachelor of Creative Writing from AFDA, where I studied promotional writing and won the Undergraduate Discipline Merit Award in that field, I have substantial knowledge in promotional writing to decipher what separates a good advert from a bad one.
The basis of promotional writing and advertising is about connecting with your target audience. You want to make them feel seen, heard, and most importantly, you want a powerful call to action that compels them to take immediate action.
A recent Kotex advert titled “ProgressFeelsLike” exemplifies what I believe period advertising should be. The advert captures the often overlooked discomfort women experience during their periods.
It uses a narrative format, combining powerful voiceover with clips of women pushing through the sharp grip f cramps during meetings, discreetly checking for leaks on their pants in crowded spaces and fighting exhaustion while caring for their family.
The line, “being dismissed is being on your period,” underscores the frustration of having your struggles minimized simply because you are menstruating.
Another powerful line, “not comfortable, seen as not capable enough or as behaving enough,” captures the harsh judgements women often endure while on their periods.
These judgements manifest in different ways – being perceived as overly emotional or unreliable at work, having their capabilities questioned simply because of the natural biological process, or being labelled as moody or difficult to work with.
These assumptions can lead to women being dismissed or overlooked in both professional and personal settings, reinforcing the stigma and silence surrounding menstruation.
The world of promotional writing is really about storytelling. It is about using your brand to craft narratives that draw your audience into your world. Understanding your audience’s needs, desires, and pain points and then communicating how your brand can meet those needs in an authentic way.
Advertising is not just about making a noise and selling a product; it is about creating a melody that lingers in people’s minds long after the campaign is over.
FEATURED IMAGE: Ofentse Tladi, 2024 Wits Vuvuzela Journalist. Photo: File/ Leon Sadiki.
Students should be commended for having part-time jobs as the amount of time and effort required seems excruciating.
Navigating academic life as a postgraduate student in journalism while balancing work has been both exhilarating and challenging. It is a battle between getting good grades while also maintaining your lifestyle.
By day, I always envisioned myself uncovering groundbreaking stories and diving into my bustling side hustle by night. Well, looking at things now, it is safe to say that is not how it is currently unfolding.
Many students in South Africa manage to work part-time jobs while they attend school. Approximately 20% of students in higher education institutions work part-time, per a Stats South Africa report.
The requirement to obtain work experience and provide financial support for their studies is a contributing factor to this trend. Tsatsawani Nkuna, studying BSc in Property Studies at Wits University works part-time as a waitress at a restaurant in Braamfontein to cover her monthly expenses.
Many people are forced to work and study simultaneously due to financial constraints, the rising cost of education, and the need to gain practical work experience. This situation often leads to a challenging but enriching journey where individuals learn to balance multiple responsibilities and build resilience.
Being door staff – the person who charges an entry fee at the Play Braam establishment – is thrilling, as I get to engage with different personalities and learn from some. However, this can sometimes get a bit tiring, as I am someone who runs on a limited social battery.
My working hours are from 10am till 8pm every Saturday and some Sundays. While overtime runs depending on the duration of a certain event taking place, there are also days during the week where there are events, and I am allocated a shift.
Having to show up for my classes whilst making sure I earn money to sustain myself was something that I could easily balance at first. The intensity with having to master my time management skills and prioritizing tasks though is what I struggle with.
There have been instances where I would attend class knowing that I’d have to rush to work right after, and by the time I get to res, exhaustion would kick in.
Every week I juggle coursework and assignments alongside my job. Balancing academic responsibilities leads to a hectic schedule, leaving little time for rest and social activity.
One of the benefits that keeps me going is the financial independence I have acquired. My reasons for taking on a part-time job vary as it covers a part of my tuition fees and my living expenses. Financial independence is also important as it keeps me mindful of my spending habits.
The experience can be incredibly rewarding, but it requires a thoughtful approach to balance and commitment.
Declining readership, reduced advertising sales and competition from online news sources are some of the challenges facing traditional news sources.
According to Moneyweb editor, Ryk van Niekerk print journalism is “grappling with the digital revolution.” The rise of online news platforms has drastically reduced circulation figures and advertising revenue for traditional print media. The Audit Bureau of Circulations (ABC) South Africa reports that the Weekend Newspaper Sunday Times saw a 42.9% drop in circulation from October to December 2023 compared to the previous year.
The economic pressures are immense, and many newspapers have downsized or shut down entirely, unable to compete with the immediacy and accessibility of digital content and platforms. For example, Media24 announced in June that it would close the print versions of iconic newspapers like City Press, Rapport, Bleed and Daily Sun.
There was a time when the crackle of a freshly printed newspaper brought a sense of anticipation and connection to the world. Growing up, I remember my mother coming home from work with a newspaper daily. On Wednesdays, there was a section called “Nali Ibali,” which translates to “Here is a story.” Through reading these stories, I learned valuable lessons and grew an appetite for reading.
Newspapers were not just about news; they were a shared experience in our home, a trusted source of information to understand our complex society and world. Today, things have changed because people get news online, predominantly from social media. This shift has made news more immediate but also more fragmented, and newspapers have struggled with fewer readers and less money, which affects their ability to provide the same level of coverage as digital platforms
The decline of print journalism has serious implications. Quality journalism, particularly in-depth reporting and investigative pieces are at risk. These forms of journalism require time, resources, and expertise that struggling print outlets cannot afford. Without them, our democracy suffers as the watchdog role of the press is weakened.
Despite these challenges, there is hope. According to Yellowbrick embracing digital transformation is essential. Print publications must leverage digital platforms to expand their reach and engagement. This includes offering digital subscriptions, creating multimedia content, and maintaining a strong social media presence. By doing so, they can attract a new generation of readers.
Research by Francis Mlongwa highlights the importance of reconnecting with local communities. Print journalism should focus on local content that truly resonates with readers and reflects their realities.
The Association of Independent Publishers (AIP) reinforces this view by noting that when a community loses its newspaper, it loses more than just printed pages; it loses its voice, its connection to the local environment, its ability to celebrate local heroes, and its capacity to hold authorities accountable.
Francis further says exploring alternative revenue streams such as membership models, crowdfunding, and partnerships with businesses and community organizations can provide financial stability for print media. These models not only generate revenue but also foster a sense of community and shared purpose among readers.
As a student journalist, I believe there is a future for print journalism. It is not about clinging to the past but adapting to the present with innovation and integrity. By doing so, we can ensure that the power of the written word endures in a digital age.
The recent revival of dance-pop and clubbing music is reminiscent of the 2010’s ‘recession pop’ era, recent social media buzz seems to suggest. Could this mean another economic recession is on the horizon?
Between 2008 and 2009, The Great Recession rocked the global economy, plunging millions into unemployment, poverty, and homelessness. The South African economy plummeted from a high growth rate of over 5% in 2007 to a negative growth rate of -1.5% in 2009.
Also between 2008 and 2009, songs like Flo Rida’s “Low”, Lady Gaga’s “Just Dance”, and The Black Eyed Peas’ “I Gotta Feeling” topped the billboard charts.
These songs which centered around going out, spending money, getting drunk, and generally forgetting about one’s woes, became known as recession pop.
The fast and hard beats, catchy hooks, and upbeat lyrics coloured this period of economic difficulty with a rosy shade of optimism.
Now in 2024, pop music is sounding a whole lot like it did in the late 2000s; from Charli XCX’s “365 party girl album”, Brat, to the return of wild- child Kesha on “Joyride”, to Chapell Roan, Camila Cabello, Kim Petras and countless others. Fun music to dance the night away to is back in a big way.
But does this return of recession pop signal a global economic recession around the corner?
The internet certainly seems to think so, and the facts do not necessarily contradict this idea.
Across the globe, and certainly here in South Africa, the cost of living is pushing many working and middle-class families to the brink. The South African economy only barely escaped a technical recession at the end of last year.
Elsewhere in the world, the situation is just as grim. The United States just hit its highest rate of homelessness since 2007, and the number of children living in poverty in Britain is almost 1 in 3.
Economists Harry Dent and David Rosenberg are concerned by how similar the stock market is looking to its pre-Great Recession state, and even predict a possible 2025 market crash.
So, it isn’t impossible to say this resurgence of pop-y, ‘dance-your-worries-away’ music is related to the flailing economy. What audiences want and what musicians release are interdependent phenomena, and if the people want to let loose and dance, the music will follow. It just remains to be seen whether a real recession will come along to cement this new wave as a real incidence of recession pop.
FEATURED IMAGE: Brat album by Charli XCX over a pile of bills. Photo: Ruby Delahunt.
As a South African, I have a renowned sense of love and respect for all the wildlife we share our land with. However, when tourists arrive and make their own rules, it not only upsets the animals, but also disturbs me.
One morning a few Septembers ago in the Pilansberg Nature Reserve, a group of us went on an early morning bush walk. The crisp, fresh air whipped around our ears. The only audible sounds were leaves crunching beneath our feet and the game ranger’s quiet whispers. Then, suddenly, an elephant emerged, strolling leisurely through the dry savannah. Beside it, a baby, probably just a few weeks old, trudging along and almost stumbling beneath its mother’s big tummy — seemingly, without a care in the world. It was a sight to be savoured, in silence, with respect, for the wild is exhilaratingly awesome, but remains unpredictable.
In the international Wild for Wildlife month of July, I could not help but recall just how much I both love and admire wildlife, a proudly South African thing to do. These thoughts of pride are however interrupted by the stories of tourists performing traitorous acts in our nature reserves that have serious consequences for both humans and animals. It is a privilege to experience nature in its purest form and we must remember our place as a visitor in wildlife’s home.
A lone rhino hiding behind his trust bush whilst tourists walk past him. Photo: Victoria HillGaining confidence, the rhino ventures into the open grasslands to graze. Photo: Victoria Hill
But why are humans so drawn to nature in the first place?
Well, the term “biophilia” describes our humane tendency to seek connections with earth’s living forms. In the 21st century, we are more disconnected from nature than ever before due to the fast-walking and quick-typing world in which we now live. Being in the bush allows us to rekindle a lost relationship and slow life down to appreciate its intricate details.
However, these wild animals which we love are not cute, fuzzy, domestic creatures; they are incredible but wildly wild animals and should be treated as such. I have entered their home countless times and have left this natural habitat without a scratch. This is paradoxical to other tourists’ experiences who venture off and find themselves in harm’s way.
Whilst there have been cases of tourists getting out of their vehicles for a closer snapshot of primitive scenes, I have always heeded the instructions of game rangers and signposts dotted about nature parks. No matter how much I wish I could pick up a lion cub for a cuddle, I know it is not a smart thing to do if its mother is watching. If we put ourselves in the animal’s shoes, we would find their emotions and actions are not so different to ours. Unbeknown to many, wild animals do not view humans as prey and will only attack if provoked.
However, humans are the ones who have the ability to think about their actions instead of just acting on instinct. This comes with the responsibility of understanding that wildlife will never halt in their tracks, and we should not expect them to.
This is the moral behind Wild for Wildlife and for the many days left, I will be thanking my lucky stars that I get to live in the heart of nature.
People have been part of fandoms for years, finding a sense of community in shared interests. However, these ‘havens’ are not safe from public ridicule, and women know that best.
Screaming, cheering, and a little infighting all come with the territory of being a fan of anything. As someone who is part of both football and music fanbases, I have seen how patriarchy can make fandoms, especially on Twitter and other social media sites, hellish.
When people think of fandoms, the concept of ‘fangirling’ often comes to mind, conjuring images of hysterical women and massive crowds. These visuals can be accurate, but the hysterics and crowds are not exclusive to female fanbases and are a huge part of male fan culture too.
I come from a very big football loving family, with weekends spent watching Arsenal, Pirates, or Barcelona games, and I am no stranger to the highs and lows of football fan spaces. As a part of many online football spaces, I have seen the celebrations and conflicts that take place when teams win or lose and the vitriol that even players can face, and this is a much less discussed aspect of fan culture.
Football fandoms have historically been heavily male-dominated. The perception of men as reasonable and logical has managed to shield them from the criticism that has plagued women in more female-dominated fandoms like music and pop culture.
At the recent Copa America final, Argentina vs Colombia fans caused chaos by storming Miami’s Hard Rock Stadium before kick-off. Huge crowds of ticketless fans attempted to enter the stadium and had to be forcibly removed from the premises, while others climbed into the stadium’s vents to try to gain entry. These fans fought the police and destroyed the stadium’s escalators. This type of behaviour from sports fans is usually described as ‘passionate’ and ‘dedicated’ instead of ‘rabid’ and ‘crazy’ in the way female fans’ behaviours tend to be considered.
A perfect example is the perception of fans of the K-pop group, BTS, who are known for being committed to and protective over the group. As a member of this fandom, I have often seen the ridicule that fans face for collecting albums, or attending BTS events, with many being considered ‘shallow’ and ‘irrational’.
BTS has sold out stadiums like Wembley and the Rose Bowl and has never had issues with fans fighting or destroying property, instead, BTS fans tend to organise care packages and goodie bags for fellow fans whenever they attend these events, and they have even helped to clean up after shows. Despite this, only one of these groups is seen as ‘wild’ and it is not the sports fans.
These perceptions are just some of the many that position women’s interests and their enthusiasm as obsessive and childish while men are just viewed as excitable. To me, this indicates a bigger societal issue of misogyny, which reinforces gender stereotypes that harm women and validate men.
While these examples showcase the most extreme on either end, it is obvious that there may be obsessive female fans and more temperate male fans, which is exactly why it is important to avoid generalising these topics as this can easily spread harmful rhetoric.
Overall, many fan activities are similar across different fields: baseball fans collect player cards, and K-pop fans collect photocards. Basketball fans collect signed jerseys, and hip-hop fans collect signed albums. Football fans paint their faces, and pop fans wear costumes. I have seen women scream as Justin Bieber sang on stage and I have seen men cry as Messi scored a penalty which I think makes it safe to say that they all sit at the same table.
FEATURED IMAGE: A crowd of fans at the Hey Neighbour festival. Photo: Kamogelo Kungwane
South Africa is proud of its hard-won democracy – and yet some South African citizens would dispense with it, in exchange for better services. Can a state be called a democracy if no one believes in it?
In many nations worldwide, democracy is the only game in town. So entrenched are democratic values in their systems that it seems impossible to consider an alternate form of government.
And yet in South Africa, a relatively young democracy, 72% of citizens would be willing to forgo elections if a non-elected government could provide employment, housing, and security.
Unemployment, followed by crime, electricity, water supply, and corruption are considered the most pressing issues facing South Africans – all of which have been promised to be fixed, but not delivered on for the last thirty years.
People are clearly drawing a link between failing public services and the (dis)functionality of democracy. This is amplified by the fact that, according to the same Afrobarometer survey, 63% of South Africans do not feel close to any political party.
According to these facts, most South Africans do not feel represented by their politicians, nor do they feel served by them. This is unsurprising to anyone who has been paying attention to local politics in the last few years.
In the 2024 national elections, South Africans showed their disillusionment with democracy, with over 11 million voters not bothering to vote and an all-time low voter turnout. These sad statistics point to a decline in the belief that voting makes any difference.
I can’t fault anyone for assuming the democratic system is the issue. One of the supposedly most democratic countries on earth, The United States, consistently silences the voices of its citizens by manipulating voter districts, filibustering the senate to stall popular bills being passed, and allowing Super PACS to fund election campaigns with dark money.
How can anyone be expected to believe in democracy if this is one of its most ‘prime’ examples?
While I’m aware of our democratic government’s numerous failings, I still believe in democracy. This is because what most people understand democracy to be is a watered down, exploited version of its true form.
Many liberal democracies today are bogged down by bureaucratic processes and swayed by the power of corporate interests. These systems, with their dysfunctionality and inequality, should not be looked to as examples of ‘real’ democracy.
According to Helende Landemore, real democracy—democracy that actually delivers on its aims—emerges by bringing popular deliberation and crowd wisdom into the political realm. It only functions through popular participation, and is fashioned by the majority, not from the top-down.
In an unequal country such as South Africa, ‘real’ democracy then faces the hurdle of an all-powerful minority and a disenfranchised majority. However, this sort of democracy does exist on the outer edges of our society, in grassroots organizations and local politics.
In his book, Amakomiti: Grassroots Democracy in South African Shack Settlements, Trevor Ngwane sheds light on the direct, non-hierarchical forms of democracy that exist in shack settlements across the country.
Community groups come together to provide for and defend their members, become self-sufficient, and focus on social development on their own terms. Ngwane calls this “democracy on the margins,” but emphasizes it could come to serve all of us in society.
Would more South Africans believe in democracy if ours functioned differently? I certainly hope so. It is South Africa’s overall lack of development that gives democracy a bad name, not the system itself.
So, while South Africa and other countries continue to call themselves true democracies, it is imperative to remember that some democracies are more equal than others, and that only we should ever hold the power to decide our futures.
FEATURED IMAGE: Ruby Delahunt. Photo: Leon Sadiki.
International Academic Day is dedicated to recognizing and appreciating academia, but what does academic freedom mean in South Africa.
According to the Academy of Science of South Africa (ASSAf) academic freedom is a right that allows students and lecturers to research, teach and express their views without any fear or interference.
The Academy of Science states that in the South African constitution, under the freedom of speech clause, academic freedom is guaranteed. This right was reinforced by the 1997 formal document titled:White Paper 3: A Programme for the Transformation of Higher Education. This document highlights academic freedom as the pillar for transforming higher education after Apartheid.
The first International Academic Freedom Day, May 20 was announced by Academics for Academic Freedom (AFAF) in November 2023, with the goal of promoting and defending academic freedom globally through various activities, such as lectures, seminars, and debates.
For many academia might evoke images of complex theories and debates. For me, however, academic freedom is about the opportunity to pursue knowledge, and exploring the subjects that ignite my curiosity and passion. Whether delving into the depths of physics or literature, academic freedom should empower me to choose my career path and follow it.
This freedom is more than just a curriculum to me; it is about nurturing my talents and transforming them into skills. It is through the space of academics where my God given talents have been nurtured, and further strengthened. I’ve always known I had a talent for radio presenting but didn’t know how to pursue it. As a student journalist, I’ve realized I can leverage my innate talent as a skill in broadcast journalism. I’ve also developed other abilities like writing and digital content creation in this academic setting.
Additionally, I believe academic freedom is also about resilience and triumph. It is about overcoming the challenges that come with being a student, whether they are academic, financial, or personal challenges.
This freedom is about standing victorious and emerging stronger not just because I have completed a degree or passed an exam, but because I have grown intellectually and personally. Academic freedom for me is a constitutional right that has allowed me to explore, grow, and unlock my full potential.
FEATURED IMAGE: Lona Sokanyile. Photo. File/Leon Sadiki
While digital news thrives online, a devoted newspaper vendor from KZN remains a steadfast presence at a Wits bustling intersection, hoping to convince young and old to grab print copies.
In the centre of Johannesburg, at the busy intersection of Yale and Empire Road near Wits University, Phumzile Msani ,stands as a symbol of a bygone era.
Phumzile Msani engaging with a potential client at the intersection of Yale and Empire Road. Photo: Rivaldo Jantjies
As a devoted newspaper vendor, despite the drastic change in the print media landscape, Msani has continued to sell printed news for more than thirty years.
Hailing from KwaZulu-Natal, Msani stepped out of her comfort zone to seek employment in Johannesburg. Without fully completing her education, she could not secure a formal job, leading her to sell newspapers. The money she earned was sent back home to support her extended family. The 57-year-old and her family still rely on the ever dwindling income from her daily hustle.
From Monday to Friday, between 9am and 5pm, she sells newspapers on the busy intersection. Her selection includes The Star, The Citizen, Business Day, and Mail and Guardian.
The latest quarterly figures from the Audit Bureau of Circulations of South Africa (ABC) show a further decline in circulation figures. The Star, which used to be one of Msani’s bestsellers has seen a 35% decrease in circulation in the last year alone, less than 6000 paid copies in circulation weekly.
However, Msani’s commitment goes beyond her sales of newspapers, she is a familiar face and voice to regular passersby, making sure to greet passersby with a welcoming grin and willingness to chat.
Msani said the Covid-19 pandemic severely hurt her sales. Despite more individuals using online news sources, sales have not returned to their pre-lockdown level. She told Wits Vuvuzela, “before Covid-19, I used to sell 90 copies every single day, now I only sell up to nine copies a day.”
Price increases have also played a role in decreased sales. For instance, City Press, which was priced at R20 in December 2019, now stands at R29, while Beeld, which was R12.50, has risen to R18.50. Similarly, Die Burger has seen an increase from R13.60 to R16, and Daily Sun’s price has more than doubled from R4.20 to R8 during the same period.
Msani is a monument to the lasting value of print media in an age when digital news is taking over the world. Her devotion, and steady presence beg the question of whether print and digital journalism can coexist, or will screen convenience eventually make the sound of newspapers rustling obsolete?
FEATURED IMAGE: Selection of newspapers that Phumzile Msani sells. Photo: Rivaldo Jantjies
While South Africa’s TV screens lack no new telenovelas; the industry constantly fails to produce interesting story ideas that can keep viewers intrigued.
On February 23, 2024, Thabang Moleya, a South African Director, who has worked on projects such as Gomora (2020) and The Herd (2018) posted a question on X, asking his followers what stories they would like to see more of. Moleya explained that he posed the question because he is aware of audiences’ dislike towards the typical South African stories surrounding politics, taxi wars and “unnecessary sex scenes.”
What followed was a deluge of reposts and replies with people vocalizing their dissatisfaction with the industry. “It is not even about the storylines. The cast has no diversity. Everything looks like characters in a room reciting dialogue,” X user Siwe Memela replied. Another X user suggested a South African Science Fiction like the existing film Snowpiercer.
Popular telenovelas like “The Wife and The Queen have had their fair time in the spotlight; keeping viewers glued to their screens for a nightly fix of scandal-infused storylines – specifically stories about the drug industry.
After The River ended in 2024, BET launched Queendom, featuring familiar faces like Sindi Dlathu, Linda Mtoba and Hamilton Dlamini. Queendom follows Nthandokayise, community leader who discovers she is the heir to the Khahlamba Kingdom’s throne – a storyline previously explored on Mzansi Magic’s The Throne.
This is one of the problems viewers and inspiring actors face as the industry tends to recycle the same talent– which often leaves no room for diversified storytelling as actors get typecast; and new talent has no room for entry.
Despite Moleya’s question, audiences have always expressed their fatigue with these familiar storylines, and unfortunately the entry of streaming giant Netflix has meant more of the same.
Netflix South Africa requires writers and filmmakers to pitch to established agencies or a production companies with a proven track record, before they can get on the platform.
These agencies and production companies can be risk averse and often shy away from hiring new talent, preferring to collaborate with established industry professionals.
While broadcasters like SABC, Mzansi Magic, and Moja Love provide direct pitching opportunities, my experience as a religious viewer of South African series and telenovelas suggest that these platforms rarely produce fresh ideas.
According to News24, three aspiring content producers claim the Moja Love channel commissioned their proposals without informing or involving them.
However, South Africa’s law, as explained by a legal blog PopLaw, ideas themselves are not protected by copyright. “In order to qualify for copyright protection, an idea needs to be reduced, using the author’s own skill and effort, to material form.”
I believe the industry could be transformed by getting new writers into writers-room; and by recognizing that South African audiences want to see stories that reflect the current times.
FEATURED IMAGE: Ofentse vents about the South African Film Industry. Photo: Ofentse Tladi
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